Paisiello’s “Claudia Avenged”: A Delightful Rediscovery of 18th-Century Comic Opera
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A newly released recording of Giovanni Paisiello’s Claudia avenged offers a vibrant glimpse into the world of 18th-century Italian opera, showcasing a “splendid cast” and a charmingly daffy story, as noted by Ralph P. Locke in American Record Guide. The two-CD set, performed by the Baroque Orchestra of the Giovanni Paisiello Festival and conducted by Iason Marmaras, brings to life a previously unrecorded work by a composer highly prosperous during Mozart’s time.
A Farce in Neapolitan Dialect
Claudia avenged, libretto by Francesco Cerlone.
A Tale of Magic, mischief, and Mt. Vesuvius
The plot unfolds with a series of fantastical events.Pulcinella attempts suicide, Claudia discovers a genie within a fishing net, and a magic wand facilitates invisibility and playful chaos. this wand allows Pulcinella and Claudia to mischievously send their reluctant lovers, Carmosina and Don Claudio, into the crater of Mt. Vesuvius and transform Don Camillo’s servant, Coviello, into a donkey – a visual gag reminiscent of Shakespeare’s A Midsummer Night’s Dream, complete with a donkey’s head and gloved paws.
The transformations continue as the pair turn Carmosina and Don Claudio into marble statues, ultimately leading to their repentance and restoration. Coviello undergoes another transformation, becoming a chamber clock that announces the time – “It’s one-thirty in the morning.” Despite the implausible events, Locke notes the opera maintains “classical unity of time,” unfolding within a single day.
Vocal Performances and Orchestral Simplicity
The entirely Italian cast delivers strong performances,with contralto Tina D’Alessandro particularly praised for her portrayal of Claudia. Locke observes that the singers prioritize a “solid core of tone” and conveying character, a refreshing approach. domenico Colaianni as Pulcinella is described as “rough-edged, but arguably in character.”
The orchestra, while small, is responsive, and the stage production, as evidenced by a photograph from the Taranto festival, appears simple. Locke notes the absence of dramatic sound effects, even during scenes like the volcanic eruption, relying instead on recitative to convey the setting.
A Recording with Minor Imperfections
The Bongiovanni release, while a welcome addition to the discography, isn’t without its flaws. Locke points out inaccuracies in the English translations, a missing portion of the libretto, and a lack of clarity regarding the source of the donkey braying. Moreover, the endnotes are provided solely in Italian.
Despite these minor issues, the recording is a valuable contribution to the understanding of Paisiello’s work. Giuseppe Labadessa’s efforts in providing a playable score are particularly commendable.
A Work Ripe for Revival
Locke suggests that Claudia Wins! – a possible rendering of the opera’s title – would be ideally suited for performance by university opera studios or smaller companies. However, he emphasizes the need for a strong English translation to overcome the challenges of performing in Neapolitan dialect. The work’s “witty interchanges,” he argues, deserve to be heard and enjoyed.
This recording serves as a “lovely souvenir” from the Giovanni Paisiello Festival, captured during a single performance on October 20, 2022. For those willing to engage with a text largely in Neapolitan, Locke assures, there is “much to enjoy” in this previously unrecorded opera by a prolific and skillful 18th-century composer. He further recommends exploring Paisiello’s The cave of Trophonius and The generous races for additional examples of his artistry.
